Sentences with phrase «film characters following»

Not exact matches

I also thought that the film was pretty hard to follow, because the characters didn't always stay in character.

Toronto International Film Festival (TIFF) 8 September: Oscar - winning director, Danis Tanovic, took to the stage to resounding applause following the screening of Tigers, his new 90 - minute fact - based drama, and revealed that the character played by Emraan Hashmi, called Ayan in the film, was actually in the theatre.

Epically bad in virtually every way imaginable, Battleship follows several one - dimensional characters as they attempt to defeat a squadron of heavily - armed aliens - with the film, impressively (and laughably), incorporating elements from the eponymous children's game.

The first two films are a tough act to follow, and here, the laughs are spread out too far, the story feels forced upon its characters, and the whole gimmick of twisting the conventions of fairy tales is starting to show a lack of new, worthwhile ideas.

This modest film falls into the category of «character study», which generally means there there isn't a real plot or story follow, so much as a brief peek into a life of someone for a while, perhaps in the hope of learning a thing or two about a different mode of life, or as a reflection of our own.

With epic proportions of Shakespearean tragedy, the film follows two unique characters, whose rags - to - riches success stories reveal the innate virtues and flaws of the American Dream.

A busy schedule of character roles in such films as Junior, Lolita, and The Ninth Gate followed, though Langella still remained a frequent and distinguished presence in the New York theatrical community.

Brian Trenchard - Smith's BMX Bandits (1983)-- an adventure film / teen movie — followed, with Kidman as the lead character, Judy; it opened to solid reviews.

A semi-sequel to the popular Zappa, Twist and Shout (1984) followed that film's lead character as he came of age during the time when the Beatles» popularity exploded worldwide.

The fourth film in the Ice Age franchise, Ice Age: Continental Drift, follows the main characters — Manny (Ray Romano), Diego (Denis Leary), Sid (John Leguizamo) and Scrat (Chris Wedge)-- as they embark across newly created oceans with an iceberg as their ship.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

But Constantine, which follows Keanu Reeves title character as he teams up with Rachel Weisz's Angela to prevent Satan's arrival on Earth, takes a leap out the plausibility window early on, something presumably dictated by the comic book that the film is based on.

Annihilation follows the familiar form of science fiction horror found in films from Alien to The Cloverfield Paradox, with a cast of characters in isolation, slowly being picked off by a force they don't understand.

What's particularly frustrating is that an early, all - too - brief stretch of the film, in which the characters sit around playing Charades, is giddier and more alive than any of the high jinks that follow.

The film follows the actress, played magnificently by Juliette Binoche as she hesitates and then prepares for the new production, and Assayas manages to mix the actress's feelings with the text of the play so that you never quite know if the actress or her character in the play is speaking.

An unfocused, unfunny black comedy, Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb details the chaos that ensues after a nuclear attack is mistakenly triggered against the Soviet Union - with the film following a host of disparate figures, including George C. Scott's Buck Turgidson, Sterling Hayden's Jack D. Ripper, and Peter Sellers» title character, as they attempt to neutralize the threat.

Coogler ups the intrigue as the film plays, with each new piece of the puzzle put together to deliver impact, and to change what we know about these characters in ways that give the entire story a surprising amount of nuance, given the amount of characters to follow, as well as the wider scope of the international politics.

If you didn't remember who Tris is fighting against, the film has a character say, «I'm not the enemy here,» followed by a cut to Jeanine.

Jen survives, of course, and the rest of the film follows the four characters as the men hunt her, the woman evades them, Jen decides that she'll have to stop her predators, and the guys discovering that she's more than up to that task.

What follows is a standard cat - and - mouse game between Shaun and the thieves» leader, Eddie (Billy Burke), that makes decent enough use of its domestic interior / exterior dynamic; the trash talk between the two underscores most of this, with Burke's character making do with corny, one - off lines like, «Moms don't run, not when their babies are trapped inside the nest,» providing the bulk of the film's punch.

By calling the film Predators the filmmakers are evoking the relationship between the original Alien film and its sequel Aliens by implying that Predators is the rightful follow - up film to Predator and promises to up the ante in terms of action and the number of creatures for the human characters to contend with.

Returning as the same character the following year in the appropriately titled The Scorpion King, Johnson did little to enhance his reputation of a trained thespian, though he did get the summer film season off to a rousing start for audiences hungering for some energetic escapist fun.

With an unhurried pace and a focus on character over action or plot, this film takes us into the mind and life of a hardened assassin and follows the story to its natural conclusion.

By following five Atlanta - based couples, the film wants fervently to incorporate all its character's diverse fluff into one sitting, but such hopes are subverted to an emptily - flat experiment that pairs audiences with familiar faces acting out a weak script, while the experimenters stand back and pray that the audience doesn't notice just in fact how hollow it all really is.

The weak link is Steve Zahn who's straight laced screenwriter character grates making him a dreadful lead considering most of the film follows him.

The kind of film that makes you wish they had perfected choose - your - own - adventure technology for movies, one that would allow you to ditch the central character and follow any number of the story's more interesting second bananas.

Instead of keeping the film contained to one house like the first one did, it took us to the streets during purge night following 5 characters.

Antonio Campos's film «Christine,» which opened last Friday at Film Forum and nationwide, is the second one this year about its title character, following Robert Greene's documentary «Kate Plays Christine.»

Shot over just five weeks, the film follows a devout Christian 17th century family, whose newborn son disappears without a trace, inciting rumours that Taylor - Joy's character, Thomasin, is practicing witchcraft.

- «Recast, Reshot, Reclaimed» — This piece follows the unprecedented recasting of the character J. Paul Getty a little over a month before the film's theatrical release.

Most of the performances are over the top and the inconsistencies in character development make the story hard to follow and the characters difficult to connect to, sadly this film boasts itself as a fable, indicating a moral lesson, but there are no such lessons to be had at the end of this film, if you can make it there.

Jones was asked about her character, and while she stayed coy about her name in the film, she did let the following info slip: «It's all quite shrouded in secrecy, but I'm the Goblin's girlfriend - I'm in a relationship with him, and his accomplice.

While discussing the character's future within the Marvel Cinematic Universe, and the rumors that suggested the Sony spin - offs would exist within the MCU, Feige confirmed (via Jo Blo) that the untitled follow - up to Spider - Man: Homecoming will be the first film to debut following the fourth Avengers film.

The film largely follows the standard slasher formula, as our characters develop into either heroes that survive to battle the killer to the end, or generic asshole killer fodder.

Young women, in particular, are profoundly influenced by films that follow girl protagonists whose stories transport them to new cultures, environments and character circumstances outside of their personal experiences within their familiar realm.

The «Empire Strikes Back» of the «X-Men» series, «X2» not only followed up on the pretty - darn - good original film but improved upon its every aspect — raising the stakes and the scale while seamlessly introducing new characters and growing bit players from the first film into full - fledged members of the team.

The film follows a similar premise to the 1977 film in bringing these characters together, and setting up their mission.

Though the film follows a pretty standard cops - and - robbers formula, it does so with such razor - sharp proficiency and well - drawn characters that it succeeds not just as a terrific genre film but a modern American classic in the same vein as «No Country for Old Men.»

In «Ratcatcher,» «Morvern Callar» and «We Need To Talk About Kevin» her characters are forced to try and to pick up the pieces following one tragic, life - altering event that happens early in he film.

The variety of characters that people have followed for ten years is the biggest strength of this film.

In the film, it's as if we're intuitively following the characters, and that we aren't tethered to a traditional narrative structure.

Said to follow a young Atlanta boy spending his summer in Brooklyn with his grandfather who he's never met, the film will also see Lee get back in front of the camera as Mookie, the main character from his aforementioned breakthrough racially charged film.

While the Inside Out Play Set will feature the characters from the upcoming film, it will not follow the movie plot.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

The film features a wonderful opening sequence that defines the lead character and his world with effortless grace, and then follows that bravura entr Rating: Hoopla Factor: Continue reading Drive →

The film will follow Don Quixote and how he believes an advertising executive played by Adam Driver is Sancho Panza, the main character from the classic Do Miguel de Cervante's novel from 1605.

Premium Rush follows Joseph Gordon - Levitt's Wilee, a rough - and - tumble bike messenger, as he's forced to evade a dirty cop (Michael Shannon's Bobby Monday) after picking up a valuable package, with the film subsequently (and primarily) detailing the game of cat and mouse that ensues between the two characters.

The film's title character, a «night nanny» played by a lightly pixie - dusted Mackenzie Davis, hired by Marlo's wealthy brother - in - law, Craig (Mark Duplass), to help her through the first few sleep - deprived months of motherhood following the birth of her (unplanned and only grudgingly welcomed) third child, is a figment of her client's imagination.

The storyline - which follows several characters (including Mark Wahlberg's Elliot and Zooey Deschanel's Alma) as they attempt to survive during an environmental crisis - moves at an appropriately brisk pace, though it does become increasingly difficult to look past the pervading lack of tension within the film's more overtly scary sequences.

Among the 2017 films that include LGBTQ characters, gay men were most present (64 %) followed by lesbians (36 %) and bisexuals (14 %).